Kate Bush – Director’s Cut album review

Kate Bush’s reinvention on Director’s Cut

Six years did Kate Bush good. The 52-year old artist took a much needed break to make a comeback with the soulful, unique and quite distinct album, Director’s Cut. Though, don’t be surprised if you feel you’ve heard some of the songs before.

Bush took songs off The Sensual World and The Red Shoes albums, manipulated them, tweaked them and infused them with new-age era musicality. She doesn’t shy away from incorporating very different genres of music in each song—which in turn helps create a well-rounded album. No song is similar to the next.

Take a listen to Deeper Understanding. Though not a new song, you can instantly tell how much the song actually applies to our generation. Old vocals are abandoned and the infamous and widely hated Audio-Tune is used to mimic a computer operator. This compliments her lyrics quite well, when she talks about the idea of social interaction slowly disappearing as it takes a backseat to the computer.

Her best work on this album however is This Woman’s Work, hands down. It’s haunting. It’s beautiful. It’s full of pain and suffering. Her long pauses and eerie music accompanying her in the background makes for a song that epitomizes the title to a T.

In fact, on Lily, she takes a whole new approach by doing something very basic. She yells. And while that may seem a little absurd or dare I say wacky, it just works. Her musical choices make sense—not because she is older and wiser but because whatever she decided, worked. Of course, her ideas were risky because they could end up really making or breaking the album. Her decisions, whether it was incorporating Indian genres into Flower of the Mountain or choosing to focus on vocals in Song of Solomon, made the album.

Bush sings the words us ordinary people can’t seem to get out (case in point, And So Is Love). As a female artist of a past generation, Bush reinvents herself with Director’s Cut.

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